Programme Berlin 2017
14h00 16h00 18h00 19h00 21h00
Vortragssaal
Auditorium
samedi

17 juin
14h00

Projection
Haus der Kulturen der Welt | Auditorium
John-Foster-Dulles Allee 10, 10557 Berlin / Métro: lignes S5, S7, S9, S75, station: Hauptbahnhof
Entrée libre

"Strate-fiction"

Thomas mohr: Impact-9.2 | Vidéo | hdv | couleur et n&b | 10:44 | Pays-Bas | 2016 voir plus
Mauricio freyre: SET OUT 1 | Fiction | 16mm | couleur | 2:14 | Espagne | 2015 voir plus
Ivan salatic: Dvorista | Fiction expérimentale | 4k | couleur | 20:59 | Montenegro | 2015 voir plus
Jules lagrange: Orion Aveugle | Fiction expérimentale | hdv | couleur | 9:10 | France | 2016 voir plus
Thomas taube: Narration | Fiction expérimentale | 4k | couleur | 45:19 | Allemagne | 2016 voir plus
Thomas mohr
Impact-9.2
Vidéo | hdv | couleur et n&b | 10:44 | Pays-Bas | 2016

After a moment of brightness a memory unit containing 59.049 images is  explored from the  totality to it’s individual  images, creating connections on various levels in various directions in a shifting dynamic system. Beginning with a sudden and rough recall of memories the information merges with increasing compression in several cycles and repetitive feedback to transform in an almost ad infinitum expanding time space topology of intense subtlety. The visual composition is inverted and  disrupted several times  by visual blanks of bright white. The original images were taken handheld in 2002/3 when the experience of 9/11 still was very present. The composition is made frame by frame using “contact sheets” (6,5 fps). The integration of the outdated format SD in the more contemporary HD leaves empty space in the memory levels and in the processing levels. The memory unit used in this video is the second out of nine units which will become one total memory at a later stage covering 30 years from 1985 to 2015 .      The music composed by Michael Bonaventure (organ sounds)and René Baptist Huysmans (electronic sounds) is inspired by  the poem “The Comet At Yalbury” by Thomas Hardy


Born in Mainz, Living and working in Amsterdam. Since the late 1980ties systematically exploring processes of perception and experience in installations and "films" referring inter alia to conceptual and minimal art, to the history of early cinematography , the transformation of information, the evolution of (new) media. Working with computer-generated processes combined with manual execution based on a growing photo archive containing at this moment more then 500000 pictures taken from 1985 regarding important moments of modern history as to major and minor personal events.

Mauricio freyre
SET OUT 1
Fiction | 16mm | couleur | 2:14 | Espagne | 2015

When does the fiction of a film start? Where do characters go when the movie is over? A story made of fragments and discarded footage from a film shooting. The camera examines the landscape of the mise-en-scène, looking for meaning in the elements that make up the picture.


Mauricio Freyre is an artist and filmmaker, graduated from Architecture and Fine Arts, based in Madrid. He uses the film medium to explore structures and systems of thought behind the constructed and projected. His projects and films have been exhibited at Haus der Kulturen der Welt (Berlin), Fundación Telefonica (Lima), TENT Museum (Rotterdam), W139 (Amsterdam), Nederlands Film Festival (Utrecht), FIC (Valdivia), Sunset Cinema (Luxemburg), Filmmuseum (Amsterdam), etc. He is currently a visiting teacher at The Berlage (Delft), KABK Royal Academie of Art (The Hague) and ETSAM Universidad Politécnica (Madrid).

Ivan salatic
Dvorista
Fiction expérimentale | 4k | couleur | 20:59 | Montenegro | 2015

In the backyards there are sheds, a huge old tree, wild plants with wild offspring, waste scattered around. This is where they spend their time. A decaying building is about to be destroyed and someone may go beyond. Soon one of them becomes aware of the sea.


Ivan Salatic was born in 1982 in Dubrovnik and grew up in Herceg Novi. He finished the School of Fine and Applied Arts in Belgrade and graduated from the Faculty of Dramatic Arts in Cetinje. He has directed several short films that have participated in festivals such as Venice Film Festival, Sarajevo Film Festival, Torino Film Festival.

Jules lagrange
Orion Aveugle
Fiction expérimentale | hdv | couleur | 9:10 | France | 2016

Orion Aveugle, c`est l`histoire d`un rite funéraire vu à travers les yeux poussiéreux d`un cyborg. La temporalité et le contexte précis de cet événement appartenant au passé, lui sont inconnus. Ils ont disparus au profit d`une mémoire dense et disparate. Son implication et sa filiation aux sujets est inaccessible, perdues à jamais, dans la densité d`événements enregistrés au cours des siècles. Sa mémoire est donnée à voir, vidée de son sens. C`est l`histoire d`un être devenu le simple témoin, de sa propre nostalgie.

Jules Lagrange est un artiste français, né en 1989 à Besançon. Son travail se développe principalement dans l`élaboration de film de fiction. Ses recherches s`orientent autour de processus de réécriture et de jeu de réappropriation des codes cinématographique visant à ré-incarner et à re-sentimentaliser les corps et les affects représentés au cinéma. Il a étudié à l`institut of Art, Design and Technology de Dublin et à l`Ecole Nationale Supérieure des Beaux Arts de Lyon dont il est diplômé en 2014. En 2016, il intègre le post diplôme de l`ENSBA Lyon dirigé par François Piron. Son travail a été visible au travers d`expositions, notamment, à la Friche belle de Mai (Marseille), au Creux de l`enfer (Thiers) ou encore au Treize et à Glassbox (Paris). Ses films ont également était projeté au Festival International de Video de Camaguey (Cuba), au Frac Nord pas de Calais (Dunkerque), à Mains d`oeuvres (St Ouen) ou encore aux Musée des Confluences (Lyon). Il vit et travaille à Bruxelles.

Thomas taube
Narration
Fiction expérimentale | 4k | couleur | 45:19 | Allemagne | 2016

NARRATION links issues of social relevance, such as the systematic exploitation of workers on arab building sites, with questions of awareness and the perception of (constructed) narratives in our everyday lives. Different languages and associated concepts – such as imagination and seeing – are interleaved into a well arranged field of associations. In Taube`s work the "flow of images" becomes a symbol for the flux of visual concepts and the impossibility of them ever coming to a halt. The impact of the film is also due to the performance of its protagonists, who, at times far from playing a role, represent and reflect their own actions: the actor comes to represent the narrator on a stage.


Thomas Taube is a German video artist who is living and working in Leipzig. He studied from 2008 to 2014 at the Academy of Visual Arts (HGB) Leipzig and graduated from Prof. Clemens von Wedemeyer class with an honourable distinction. He is currently a „Meisterschüler“ of Clemens von Wedemeyer. From June until December 2016 Taube was resident at the ISCP in New York. The residency was sponsored by the Cultural Foundation of the Free state Saxony (KDFS). His video works are concept-based films which question obvious and seemingly self-evident circumstances of our daily lives.


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Thomas Mohr explore une unité de mémoire, composée de 59 049 images de sa propre vie, allant de la totalité à chaque image prise en tant que telle. Un espace temps en expansion créant de multiples connexions. Mauricio Freyre réfléchit sur les mécanismes du cinéma en tant que processus de création et de représentation, et examine le paysage de la mise en scène. Ivan Salatic filme des adolescents dans un jardin, entouré de plantes sauvages. Ils semblent en suspens, tout comme leur environnement. Soudain, ils prennent conscience de la proximité de la mer. Jules Lagrange déplie l’histoire d’un être devenu le simple témoin de sa propre nostalgie. C’est l’histoire d’un rite funéraire vu à travers les yeux poussiéreux d’un cyborg. La temporalité et le contexte précis de cet événement passé lui sont inaccessibles. Ils ont disparu au profit d’une mémoire dense et disparate. Thomas Taube s’interroge sur les éléments nécessaires à la formation d’un récit. Il associe différentes narrations, différentes temporalités, liées à des questions de conscience et de perception, s’interrogeant à la fois sur la création d’une fiction et sur le travail des événements dans notre mémoire pour qu’ils deviennent des souvenirs.


samedi

17 juin
16h00

Projection
Haus der Kulturen der Welt | Auditorium
John-Foster-Dulles Allee 10, 10557 Berlin / Métro: lignes S5, S7, S9, S75, station: Hauptbahnhof
Entrée libre

"Histoire. Partie 2 - Confrontations"

Julia kater: Breu | Vidéo | hdv | couleur | 4:0 | Brésil | 2016 voir plus
Ra di martino: Authentic News of Invisible Things | Vidéo | hdv | couleur et n&b | 5:30 | Italie | 2014 voir plus
Bettina nÜrnberg, Dirk Peuker: Franzosensand | Documentaire | hdv | couleur | 8:30 | Allemagne | 2016 voir plus
Maya schweizer: Texture of Oblivion | Doc. expérimental | hdv | couleur et n&b | 18:0 | Pologne | 2016 voir plus
Nanna rebekka, Pernille Lystlund Matzen: Hestebetvinger | Vidéo | 4k | couleur | 15:0 | Danemark | 2015 voir plus
Filipa cÉsar: Transmisson from the Liberated Zones | Doc. expérimental | hdv | couleur | 30:0 | Portugal | 2016 voir plus
Julia kater
Breu
Vidéo | hdv | couleur | 4:0 | Brésil | 2016

In Breu (Pitch black), the recorded images present, in a non-linear montage, the semi-artisanal paving process of a rectangle arbitrarily drawn in the middle of a vacant lawn. The soundtrack brings a circular text that overflows in modal adverbial adjuncts (mainly right and wrong),without defining any clear object, the text builds the speech in an endless cycle, onto which the ideas of progress and evolution cannot be applied.


JULIA KATER | 1980 – Paris, França ​ Lives and works in Sao Paulo, Brazil. Graduated in Photography from the School of Advertising and Marketing - ESPM (Sao Paulo - Brazil). ​ The research of the artist Julia Kater is guided in the elaboration of a body of work that can treat it from its visual improbability. Whether by the collage brought about by different overlaid photographic prints, which announces a watchful sky – despite its invisible character – or by videos that bring about the rearrangement of a set of actions and phrases, each work in its own way prioritizes the elaboration of bodies from everyday scenes that suggest simultaneous shared experiences with the persistent memory together with its struggle with forgetfulness, its ally and the cause of the gradual loss of a large part of the truths. Kater regularly participates in exhibitions in Brazil and abroad, in countries like France, USA, Belgium and Portugal. Her most recent exhibitions are: Abstratión, Galeria Fernando Pradilla (Madrid, Spain - 2016); No lugar que chegamos, MAC Jataí (Goiás, Brazil - 2016); Breu, SESI MINAS (Belo Horizonte, Brazil - 2016); Da banalidade - volume 1, Instituto Tomie Ohtake (Sao Paulo, Brazil - 2016); I Biennial of Asuncion (Asuncion, Paraguay - 2015); Simultânea: Fotógrafos latino- americanos da coleção Carpe Diem, Centro de Arte Carpe Diem (Lisbon, Portugal - 2015); Como Se Fosse, CAIXA Cultural (Brasília, Brazil – 2014); e Frestas - Trienal de Artes, Curated by Josué Mattos, Sesc Sorocaba (Sorocaba, Brazil – 2014); SIM Galeria (Curitiba, Brazil - 2014). He has works on very importante collections, like: MAR – Museu de Arte do Rio, Rio de Janeiro, Brazil; MON – Museu Oscar Niemeyer, Curitiba, Brazil; MARP – Museu de Arte de Ribeirão Preto, Brazil; Fundacíon Luis Seoane, La Corunha, Spain; Fundação PLMJ, Lisbon, Portugal.

Ra di martino
Authentic News of Invisible Things
Vidéo | hdv | couleur et n&b | 5:30 | Italie | 2014

Authentic News of Invisible Things explores mechanisms of pretence and make-believe by focusing on military camouflage. Camouflage was first used at the end of the nineteenth century to help prevent armies from being detected by enemy forces. Colours and materials are used to conceal uniforms, vehicles and equipment and make them look like something else. Camouflage also extends to the construction of mock military equipment to confuse and deceive the enemy, generating a situation of alert. Examples of this include dummy tanks constructed using wooden structures or panels of chipboard, and then painted or decorated. Used already in the Second World War and to a lesser extent in WWI, these are still widespread: in the 1990s fibreglass models produced by an Italian company were successfully deployed in the Gulf War. Iveco Defence Vehicle (Iveco DV), part of the Fiat Group, headquartered in Bolzano, makes vehicles for military and civil defence purposes. The company receives orders directly from the Ministry of Defence to produce these vehicles and the production process and all related information is therefore covered by the Official Secrets Act. However once these vehicles are decommissioned they are no longer regarded as classified and can be used by the film industry, for marketing, entertainment and by private individuals. Indeed there are numerous collectors and theme parks in possession of working vehicles, also from foreign armies, that can be hired or tried out to get a taste of military life. It is therefore easy for the film industry to get hold of functioning, but unarmed vehicles, for use in battle scenes. The situation is therefore paradoxically subverted: real tanks enter the world of make-believe, while mock-ups are deployed in real-life conflict situations. Authentic News of Invisible Things sits on the dividing line between fact and fiction, with documentary-style scenes and a theatrical re-enactment. With the support of historic photographs and film footage from public and private collections, the video becomes a sort of short journey through the paradoxes of both history and contemporary life. One of the two key scenes of the video, which mingles performance art and cinema, has been shot in the historic city centre of Bolzano. A real-life, working tank drives through the city centre in broad daylight, with no prior warning to stage a paradox. Various cameramen hidden among the public filmed the action and people`s reactions. The other scene is a recreation of an archive photograph of a group of French civilians gathered around a wooden dummy tank made by the Germans and abandoned in Lille, the 20th of October 1918.


Rä di Martino (Rome, 1975) studied in London where she’s graduated with an MFA at the Slade School of Art and after spending a few years in New York she moved back to Italy. Her practice explores the passage of time, as well as the discrepancies that differentiate epic narratives from lived experiences. Her films have been shown at the Venice film Festival, Locarno film festival and Torino International Film Festivals amongst other and in Istitutions and museums such as: Moma-PS1, NY; Tate Modern, London; MCA Chicago; Museion, Bozen; Palazzo Grassi, Venice; Artists Space, New York. In 2014/15 she has participated to the Venice Film festival 2014, winning the SIAE award and Gillo Pontecorvo award, and a Nastro d’argento for best docufilm.

Bettina nÜrnberg, Dirk Peuker
Franzosensand
Documentaire | hdv | couleur | 8:30 | Allemagne | 2016

The film `Franzosensand` centers on agricultural settlements founded by the German National Socialitst on newly built dikes on the mudflat of the Wadden Sea (North Sea). Of the settlements, the so-called „Adolf-Hitler-Koog“, was meant to be a prototype for a national socialist community.Today, the bleak and tidy landscape does not offer much testimony to its history. Excerpts of archived materials that are interwoven with present-day images make the present appear as a surface built on complex, deeper layers of the past.


Bettina Nürnberg www.bettinanuernberg.de Bettina NÜRNBERG (1976, Germany) was educated in art and film in Hamburg, Berlin and Toulouse. The work of the Berlin-based artist has been screened and exhibited worldwide. She founded the internet platform vestibuel-film. Dirk Peuker www.dirkpeuker.de Dirk PEUKER (1970, Germany) studied film and art in Berlin and Vienna. The work of the experimental filmmaker and artist has been screened and exhibited worldwide.

Maya schweizer
Texture of Oblivion
Doc. expérimental | hdv | couleur et n&b | 18:0 | Pologne | 2016

The film begins with footage of a city of ruins, when the entire cityscape of Warsaw is covered with stones. It is 1945. Themed around stones as carriers of historical memory, the movie is so closely filmed that the viewer can never see the city`s memorials in their entirety. Special attention, though, is paid to the author of the Umschlagplatz Wall, a monument located in the former Ghetto. Hanna Szmalenberg is explaining the process of realization of the Umschlagplatz as the camera winds through a snow-covered sculpture garden.


Biography Maya Schweizer, born in Paris studied art and art history at the university of Aix-en-Provence (1995-1998). She moved to Germany and studied at the School of Visual Arts in Leipzig (HGB) (1999-2002) and move in Berlin 2003 where she finished her studies at the Berlin University of the Arts (UdK) with Professor Lothar Baumgarten and graduated in 2006. She had solo shows in Westfälischen Kunstverein, Muenster (2010), Frankfurter Kunstverein, (2011) with Clemens von Wedemeyer, in the Kunstverein Langenhagen (2013), Kunsthalle Baden-Baden (2015), at the Irish Museum of Modern Art, Dublin (2016). Schweizer was also involved in many international exhibitions, such as “Of Mice and Men,” Berlin Biennale (2006), “Storylines,” Kunstraum Munich, (2006), “Um-Kehrungen, Interaktion I - Speaker’s Corner,” Kunstverein Braunschweig (2007), “Magellaneous Cloud,” Centre Georges Pompidou, Paris (2007), “Urban Stories,” The X Baltic Triennial of International Art, CAC Vilnius (2009), “Auto-Kino!,” Temporäre Kunsthalle, Berlin (2010), “Ambigous Being,” exhibitions in Berlin, Tel Aviv, and Taipei, tamtamART, Berlin / Kav16 Community Gallery, Tel Aviv / Hong Gah Museum, Taipei (2012), “Die Stadt, die es nicht gibt,” Ludwig Forum, Aachen (2012), “Vot ken you mach!,” Kunsthaus Dresden (2013), efa (Elisabeth Foundation for the Arts, New York, USA (2013). At “Villa Romana 1905–2013 Das Künstlerhaus in Florenz,” Bundeskunsthalle, Bonn, (2013), “Gestern die Stadt von Morgen,” Kunstmuseum Mülheim an der Ruhr, (2014),. “Sammlungsalphabet,” Sammlungsausstellung, Museum of Contemporary Art (GfZK), Leipzig (2014), and the forthcoming “Im inneren der Stadt. öffentlicher Raum und Frei-Raum,” Gesellschaft für Aktuelle Kunst (GAK), Bremen, (2015). At the Museum MWW – Muzeum Współczesne, Wrocław, Poland, (2015), Videokunstzentrum, Gelsenkirchen, (2016), in VOX, Montreal (2016), and at POLIN Museum, Warsaw (2016). She has received numerous prizes and awards including the German Prize at Oberhausen Film Festival (2006), a grant from the Villa Aurora in Los Angeles (2008), and the Toni and Albert Kumm prize (2009). She participated in the following residencies: Art Center 3bis F Aix-en-Provence Grant Residency Program, France (2010), KAIR - Košice Artist Residency, project of the Robert-Bosch-Foundation and Goethe Institute for the Cultural Capital Košice (2013), Slovakia, (2011), ifa, (institute für Auslandsbeziehungen) exhibition support, TCG Nordica, Kunming, China, and LA NON-MAISON, Aix-en-Provence, France, where she realized her film, “Der sterbende Soldat von Les Milles,” (2014) and recently she received the catalog grant from KdFS, Dresden (2015). She was invited Research grant from Goethe Institute Neapels and the Fundazione Morra-Museo Nitsch, Neapel, Italy (2016) and to a Residency at the Watchtower, Flutgraben, Berlin (2016).

Nanna rebekka, Pernille Lystlund Matzen
Hestebetvinger
Vidéo | 4k | couleur | 15:0 | Danemark | 2015

An easily overlooked T-junction in Copenhagen`s Sydhavn district is the location of a dramatic statue. In the midst of everyday urban space rises a bronze sculpture of a young man who is about to tame two unruly horses. The essay film ‘Breaker of Horses’ delves into the bronze sculpture and follows the hidden stories that are contained in the cast. This leads us back to the genesis of the sculpture in an antique Greek myth, to a Belgian Africa museum and deep into Europe`s colonial past. With formal nods to contemporary video artists such as Camille Henrot and Hito Steyerl, ‘Breaker of Horses’ is an overheated information flow of images, digital productions and archive material. The visual abundance is coloured by a soundtrack that alternately seethes with synthetic sound effects and detached bits of songs about the statue and its history. The film traces the copper material in the bronze sculpture back to the Congo, where extraction of copper through forced labour and slavelike conditions for the Congolese comprised one of the economical foundations for the Belgian King Leopold’s empire. Solidly placed in the era of today, ‘Breaker of Horses’ is a video work that turns to the past.


Nanna Rebekka is an independent filmmaker based in Copenhagen. Her work lies within the realm of hybrid fiction, documentary and video art. She has studied filmmaking at Center for Digital Arts and Experimental Media, University of Washington and at School of the Arts, Media, Performance & Design, York University. She is currently pursuing a masters degree in Visual Culture at University of Copenhagen. She is a former member of Copenhagen LGBTQ Film Festival. Pernille Lystlund Matzen (b. 1986) is an independent writer and filmmaker currently living in Copenhagen. Her work concentrates on new documentary forms, video art and essayistic modes of filmmaking. She holds a masters degree in Art History and Modern Culture from Columbia University, Universität der Kunste, Berlin, and Copenhagen University. She currently works as an art critic at the Danish newspaper Information. Together, Nanna and Pernille have directed the short film `Breaker of Horses`.

Filipa cÉsar
Transmisson from the Liberated Zones
Doc. expérimental | hdv | couleur | 30:0 | Portugal | 2016

Transmission from the Liberated Zones prend comme point de départ le concept de « Zones Libérées », terme utilisé pour décrire les territoires de la Guinée-Bissau arrachés à la domination portugaise et gérés, pendant les 11 ans de la guerre de libération (1963-1974), par des militants de la Guerilla du Parti Africain pour l’Indépendance de la Guinée et du Cap-vert (PAIGC). Les témoins du film sont tous suédois et ont en commun d’avoir visité cette zone au début des années 70. Il s’agit du diplomate Folker Löfgren, de la cinéaste Lennart Malmer, de la cinéaste et psychologue Ingela Romare et de la femme politique Birgitta Dahl. Pour agencer documents et témoignages, aller et venir du passé au présent, Filipa César met en scène un jeune narrateur dont le corps et la voix deviennent les outils d’un voyage temporel.

Filipa César est une artiste et réalisatrice dont le travail explore la porosité entre les frontières de l`image en mouvement et sa réception, les dimensions fictionnelles du documentaire et l`économie, la politique et la poétique, inhérents au cinéma comme praxis. Une large partie des films expérimentaux de Filipa César se concentrent sur les spectres de la résistance dans l`Histoire géo-politique du Portugal, en questionnant les mécanismes de production de l`Histoire et proposent des espaces performatifs d`une approche subjective au savoir. Depuis 2011, Filipa César entreprend des recherches sur les origines du cinéma en Guinée-Bissau, son imaginaire et son potentiel, au travers d`une recherche collective initiée dans le projet Luta ca caba inda (La lutte n`est pas encore terminée). Elle a également participé aux projets de recherche Living Archive (20111-2013) et Visionary Archive (2012-2013) organisés par l`Arsenal - Institute for Film and Video Art - à Berlin.


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Julia Kater filme le tracé d’une forme au sol. Le processus semble sans fin, où toute idée de progression et d’évolution semble absente. Ra Di Martino observe les paradoxes de l’histoire et de la guerre, et s’interroge sur le camouflage militaire, outil tout à la fois de dissimulation et de simulation. De faux chars sont utilisés dans les vraies guerres, et de vrais chars sont utilisés pour la fiction. Maya Schweizer filme le mémorial Umschlagplatz Wall, à Varsovie, d’où des centaines de milliers de Juifs furent déportés pendant la Seconde Guerre mondiale. Dans ce film, le mémorial ne peut être perçu en entier, manifestant la relation paradoxale du souvenir et l’oubli. Nanna Rebekka et Pernille Lystlund Matzen filment une statue de bronze à Copenhague, et en suivent l’histoire cachée, du mythe ancien au passé colonial de l’Europe, au Congo belge où l’extraction du cuivre a fait la fortune du roi Léopold II. Dans son film, Filipa César prend comme point de départ le concept de « Zones Libérées », terme utilisé pour décrire les territoires de la Guinée-Bissau arrachés à la domination portugaise, et gérés, pendant les 11 ans de la guerre de libération (1963-1974), par des militants de la Guérilla du Parti Africain pour l’Indépendance de la Guinée et du Cap-Vert.


samedi

17 juin
18h00

Projection
Haus der Kulturen der Welt | Auditorium
John-Foster-Dulles Allee 10, 10557 Berlin / Métro: lignes S5, S7, S9, S75, station: Hauptbahnhof
Entrée libre

Carte blanche à Antoni Muntadas

Les Rencontres Internationales invitent Antoni Muntadas pour une séance carte blanche, avec notamment la projection en première internationale de "In Girum Revisited".

Antoni muntadas: In Girum Revisited | Vidéo | hdv | couleur | 14:26 | Italie | 2016 voir plus
Antoni muntadas
In Girum Revisited
Vidéo | hdv | couleur | 14:26 | Italie | 2016


Barcelona-born, but a longtime New Yorker, Antoni Muntadas figures among a first generation of artists investigating the social and political significance of information and broadcast media. This thirty-year retrospective, first seen at the Pinacoteca do Estado de São Paulo, includes several videos from the pre–fiber optic era, such as Video Is Television?, 1989, which magnifies and distorts images from a host of appropriated sources, including several Hollywood films (Poltergeist, Network). Backed by a plunking score, the nearly indecipherable TV images are overlaid with captions such as CONTEXT and FRAGMENT: blunt reminders of mass media’s partiality and its constitutive power. An even earlier interactive installation, On Subjectivity, 1978, invites visitors to comment on media images divorced from their original context and therefore—a critical “therefore” for the artist—shorn of their original meaning.


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Antoni Muntadas est né en 1942 à Barcelone. Après des études d’architecture et d’ingénierie à Barcelone, il choisit de se consacrer à l’art, optant, dès 1971, pour le médium vidéo. Il s’installe alors aux États-Unis, où il devient boursier puis enseignant au Center of Advanced Visual Studies (MIT) à Cambridge (Massachusetts). Il a enseigné à la MIT University dans le département ACT en Architecture ainsi qu’à l’Instituto Universitario de Arquitectura del Veneto à Venise. Il vit où il travaille et il travaille où il vit.
Antoni Muntadas a été un pionnier de la vidéo et de l’installation dans le milieu des années 70, et il continue de travailler avec la photographie, l’installation, la vidéo, l’enregistrement audio et les interventions urbaines. Au cours de ces quatre dernières décennies, Muntadas a mis en place des projets reflétant de manière critique des problématiques majeures pour la configuration de l’expérience contemporaine. Son oeuvre a pour but de détecter et décoder les mécanismes de contrôle et de pouvoir à travers lesquels les voies hégémoniques de perception sont élaborées, explorant ainsi le rôle décisif joué par les médias de masse dans ce processus. Dans ses oeuvres, qui ont toujours un processus clair et qui font souvent directement appel à la participation du spectateur, Muntadas a recours à un certain nombre de médias, langages et stratégies discursives qui vont de l’intervention en milieu public à la vidéo et la photographie, de la publication de matériaux imprimés à l’utilisation d’internet et des nouveaux outils numériques, d’installations multimédias à l’organisation de projets de recherche multidisciplinaires et collaboratifs.
Muntadas a enseigné et dirigé des séminaires dans plusieurs institutions en Europe et aux Etats-Unis, notamment à la National School of Fine Arts de Paris, la Fine Arts Schools de Bordeaux et Grenoble, l’University of California de San Diego, le San Francisco Art Institute, la Cooper Union, l’University of São Paulo, et l’University de Buenos Aires. Il a également obtenu des résidences d’artistes et conseiller pour différents centres de recherche et d’éducation dont le Visual Studies Workshop in Rochester, le Banff Centre à Alberta, l’Arteleku à San Sebastian, le National Studio for Contemporary Arts Le Fresnoy, et l’University of Western Sydney. Son travail a été exposé dans de nombreux musées : le MoMa, le Berkeley Art Museum, le Musée Contemporain de Montreal, le Museo Nacional Centro de Arte Reina Sofía de Madrid, le Museo de Arte Moderno de Buenos Aires, le Museu de Arte Moderna de Rio de Janeiro, et le Museu d’Art Contemporani de Barcelone. Son oeuvre a été présentée aux VIème et Xème éditions de la Documenta Kassel (1977, 1997), la Whitney Biennial of American Art (1991), la 51ème Biennale de Venise (2005), et d’autres à São Paulo, Lyon, Taipei, Gwangju, et la Havane. Il a également exposé à la Württembergischer Kunstverein de Stuttgart, au Centro de las Artes de Séville et au Centre d’art contemporain de Thiers. En 2006 il a préenté une installation à l’Inter-Society of Electronic Arts de San José, Californie et en 2007 à la Telefónica Foundation Space, au Recoleta Cultural Center et au Centre Culturel Espagnol de Buenos Aires. En 2008 il présente son travail à l’Institut Cervantès de Paris. En 2009 il réalise une intervention au pavillon Mies van der Rohe. A Montréal il expose son oeuvre à la Contemporary Art Gallery SBC et à la Cinemathéque Quebécoise. Soutenu par le programme Lives And Works à Istanbul, il expose en 2010 à l’Istanbul Modern Museum. Plus récemment la rétropective Muntadas: Entre/Between a été vue au Museo Nacional Centro de Arte Reina Sofía en 2011–12. En 2013, Muntadas expose à l’Estaçao Pinacoteca de Sao Paulo, à la Galeria Michella Rizzo à Venise, à la Galería Moisés Pérez de Albéniz à Madrid. L’exposition About Academia, d’abord installée en 2011 au Carpenter Center for the Visual Arts à l’Université d’Harvard, a voyagé jusqu’à l’Audain Gallery à Vancouver au début de l’année 2013.
Muntadas a reçu plusieurs prix et récompenses de la part d’institutions comme la Solomon R. Guggenheim Foundation, la Rockefeller Foundation, le National Endowment for the Arts, le New York State Council on the Arts, l’Ars Electronica de Linz, le Laser d’Or à Locarno, le Premi Nacional d’Arts Plàstiques donné par le gouvernement catalan, le Premio Nacional de Artes Plásticas en 2005, et le Premio Velázquez de las Artes Plásticas en 2009 de la part du Ministère de la Culture.


samedi

17 juin
19h00

Projection
Haus der Kulturen der Welt | Auditorium
John-Foster-Dulles Allee 10, 10557 Berlin / Métro: lignes S5, S7, S9, S75, station: Hauptbahnhof
Entrée libre

"Atopos"

Guillaume paris: Bad Anima | Animation | hdv | couleur | 2:50 | France | 2012 voir plus
Larissa sansour, Søren LIND: In The Future, They Ate From the Finest Porcelain | Fiction expérimentale | hdv | couleur | 28:30 | Danemark | 2015 voir plus
Cihad caner: Abstract Violence | Vidéo | hdv | couleur | 11:10 | Pays-Bas | 2016 voir plus
Hayoun kwon: 489 Years | Animation | hdv | couleur | 11:18 | 0 | 2016 voir plus
Joana pimenta: Um campo de aviação | Vidéo | hdv | couleur | 14:0 | Portugal | 2016 voir plus
Romain kronenberg: Rien que de la terre, et de plus en plus sèche | Fiction expérimentale | 4k | couleur | 18:0 | Turquie | 2016 voir plus
Guillaume paris
Bad Anima
Animation | hdv | couleur | 2:50 | France | 2012


Larissa sansour, Søren LIND
In The Future, They Ate From the Finest Porcelain
Fiction expérimentale | hdv | couleur | 28:30 | Danemark | 2015

In the Future They Ate From the Finest Porcelain resides in the cross-section between sci-fi, archaeology and politics. Combining live motion and CGI, the film explores the role of myth for history, fact and national identity. A narrative resistance group makes underground deposits of elaborate porcelain – suggested to belong to an entirely fictional civilization. Their aim is to influence history and support future claims to their vanishing lands.


Larissa Sansour Larissa Sansour was born in 1973 in East Jerusalem, Palestine, and studied fine arts in London, New York and Copenhagen. Her work is interdisciplinary, immersed in the current political dialogue and utilises video, photography, installation, the book form and the internet. Central to her work is the tug and pull between fiction and reality. Recent solo exhibitions include Turku Art Museum in Finland, Photographic Center in Copenhagen, Galerie Anne de Villepoix in Paris, Kulturhuset in Stockholm, Lawrie Shabibi in Dubai, Sabrina Amrani in Madrid and DEPO in Istanbul. Sansour’s work has featured in the biennials of Istanbul, Busan and Liverpool. She has exhibited at venues such as Tate Modern, London; Centre Pompidou, Paris; LOOP, Seoul; Al Hoash, Jerusalem; Queen Sofia Museum, Madrid; Centre for Photography, Sydney; Cornerhouse, Manchester; Townhouse, Cairo; Maraya Arts Centre, Sharjah, UAE; Empty Quarter, Dubai; Galerie Nationale de Jeu de Paume, Paris; Iniva, London; Institut du Monde Arabe, Paris; Third Guangzhou Triennial, Guangzhou , China; Louisiana Museum of Contemporary Art, Denmark; House of World Cultures, Berlin, and MOCA, Hiroshima. Sansour currently lives and works in London, UK. Soren Lind Soren Lind (b. 1970) is a Danish author. He writes children’s books and literary fiction. With a background in philosophy, Lind wrote books on mind, language and understanding before turning to fiction. He has published a novel and two collections of short stories as well as four children’s books. In addition to his literary production, Lind is also a visual artist and writes short film scripts. Lind lives and works in London, UK. Sansour/Lind Larissa Sansour and Soren Lind have worked together on numerous occasions. Lind usually provides the scripts for Sansour’s films, just as he contributed a sci-fi story for Sansour’s 20

Cihad caner
Abstract Violence
Vidéo | hdv | couleur | 11:10 | Pays-Bas | 2016

Abstract Violence The images of war and migration are mainly based on the images that are being circulated in mainstream and social media. Although, these violent and manipulative images form an important element of public opinion concerning the migration flux and war, they are definitely not direct representations of reality. How to represent reality? Can we talk about the reality in the time of image culture? Abstract Violence investigates the image of current war and migration from its first place, from destroyed Syrian cities and from leftover objects. Caner questions the impossibility of representing violent images and how we interpret them within the time of the image culture. The project uses real footage that were shot by the artist in Syria during the recent war. Caner produces an abstract space with 3D scanned-rendered objects, which were collected from ruined houses to emphasize how these events become virtual and make us insensitive.


Cihad Caner was born in 1990 in Istanbul. Caner holds an MFA on Media Design and Communication. Caner lives and works in Rotterdam and Istanbul.

Hayoun kwon
489 Years
Animation | hdv | couleur | 11:18 | 0 | 2016

489 Years a pour sujet la Zone Coréenne Démilitarisée (DMZ), créée en 1953, qui sépare physiquement la Corée du Nord et la Corée du Sud. La bande de terre est longue de 248 km, large d’environ 4km. Selon les données du Ministère de la Défense de la Corée du Sud publiées en 2010, il faudrait 489 années pour enlever toutes les mines qui ont été placées sur cette frontière. Le film repose sur le témoignage d’un ancien soldat de Corée du Sud. Il est le narrateur qui donne accès à un endroit où « l’homme est interdit et où la nature a repris ses droits ».

Hayoun Kwon est née en 1981 à Séoul, en Corée du Sud. Elle vit et travaille à Châteauneuf-sur-Cher, Paris et Séoul.

Joana pimenta
Um campo de aviação
Vidéo | hdv | couleur | 14:0 | Portugal | 2016

An aviation field in an unknown suburb. The lake underneath the city burns the streets. The mountains throw rock into the gardens. In the crater of a volcano in Fogo, a model Brazilian city is lifted and dissolves. Two people find each other in this landscape, 50 years apart.


(b. 1986, Lisbon) JOANA PIMENTA is a filmmaker from Lisbon, Portugal, currently living and working between the United States and Brazil. Her short film The Figures Carved into the Knife by the Sap of the Banana Trees received the Competition Award at Indielisboa ’14, where it premiered, the Tom Berman Award for Most Promising Filmmaker at the Ann Arbor Film Festival, and has been screened at the Toronto International Film Festival, the New York Film Festival, Jihlava, Mar del Plata, Ambulante, Edinburgh, Videoex, Taipei, among other venues. Her video installation work has been recently presented at the Festival Temps d`Images, the Fundacion Botin, Galeria da Boavista, Carpenter Center for the Visual Arts, and The Pipe Factory, among others. She works and teaches in the Department of Visual and Environmental Studies at Harvard University and in the BFA program in Film at Rutgers University, and is a fellow at the Film Study Center and the Sensory Ethnography Lab.

Romain kronenberg
Rien que de la terre, et de plus en plus sèche
Fiction expérimentale | 4k | couleur | 18:0 | Turquie | 2016

Deux jeunes hommes sont installés dans le désert. Aucune âme à l’horizon. Ils attendent le retour d’un troisième homme parti en éclaireur. Les deux équipes restent en contact grâce à des radios. L’éclaireur explique le chemin qu’il accomplit, et l’étendue désertique toujours plus vaste devant lui. Il raconte l’espoir qu’il place dans chaque pas qu’il fait. Les deux jeunes hommes restés en arrière écoutent ; ils projettent leurs espoirs dans le futur et l’autre côté du désert. Mais la qualité du signal radio commence à faiblir. Des crépitements se font entendre sur la liaison. De plus en plus fortement. D’abord indéchiffrable, la voix finit par disparaître. Les deux jeunes hommes se retrouvent dès lors seuls et sans nouvelles. Doivent-ils se lancer en avant ? Rester où ils sont ? La réponse qu’ils imagineront est finalement un paradoxe : que croire est aussi essentiel qu’est la conscience que croire est vain.

Après deux années passées à la Faculté de théologie protestante de Genève, Romain Kronenberg étudie la théorie musicale, le Jazz et la composition électro-acoustique au Conservatoire Supérieur de musique de Genève. Entre 2001 à 2005 à l’IRCAM où il est compositeur et sound designer, il collabore avec des plasticiens tels que Ugo Rondinone, Pierre Huyghe, Melik Ohanian et Thierry Kuntzel qui l’ouvrent à la vidéo. En 2005, il présente sa performance Dérive à la Fondation Cartier et au Palais de Tokyo, à la fois concert et tournage de la vidéo éponyme au style contemplatif et hypnotique mettant en scène l’actrice Audrey Bonnet avec laquelle il travaille depuis régulièrement En 2007, il est artiste en résidence au Palais de Tokyo puis en 2009 à la Villa Kujoyama. Depuis son retour du Japon, il travaille comme réalisateur, compositeur et plasticien. Dans ses projets récents, à la fois rigoureux et ambigus, Romain Kronenberg travaille sur l’idée de renouvellement (et de renaissance) qui saisit un monde en plein changement de paradigme. Il imagine des récits où coexistent, sans manichéisme ni même rapport dialectique mais plutôt en surimposition, des notions opposées, incarnées soit par des territoires ou par des personnages.


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Guillaume Paris trace une étendue d’eau calme d’où émerge graduellement une créature énigmatique. Empruntant son titre à l’archétype jungien de l’Anima, la vidéo met en scène la figure universelle, légendaire, mythologique, merveilleuse de la Sirène. Entre science-fiction, archéologie et politique, Larissa Sansour et Søren Lind explorent les rôles du mythe, de l’histoire et de l’identité nationale. Un groupe de résistants fictionnel enfouit sous terre de la porcelaine rare, dans le but d’influencer l’histoire. Cihad Caner filme en Syrie un village détruit et des objets abandonnés qu’il a ensuite reproduits en image de synthèse, et s’interroge sur les images de guerre et de migration véhiculées par la presse et par les réseaux sociaux. Hayoun Kwon retranscrit le témoignage d’un ancien soldat de Corée du Sud, et nous donne ainsi accès à la zone interdite entre les deux Corée. Joana Pimenta filme un terrain d’aviation dans la banlieue d’une ville inconnue. Un lac souterrain est en feu et consume les rues, alors que les montagnes propulsent des roches dans les jardins. Une ville disparait sous l’effet du volcan Fogo. Romain Kronenberg filme deux hommes dans le désert. Ils attendent un troisième homme parti en éclaireur. Par radio, il explique son chemin, et l’étendue désertique toujours plus vaste devant lui. La voix finit par disparaître. Seuls et sans nouvelles, les jeunes hommes imaginent une réponse, paradoxale : croire est aussi essentiel qu’est la conscience que croire est vain.


samedi

17 juin
21h00

Projection
Haus der Kulturen der Welt | Auditorium
John-Foster-Dulles Allee 10, 10557 Berlin / Métro: lignes S5, S7, S9, S75, station: Hauptbahnhof
Entrée libre

"Cinéma revisité"

m+m: Dienstag + Donnerstag | Installation vidéo | 16mm | couleur | 6:39 | Allemagne | 2015 voir plus
John skoog: Shadowland | Doc. expérimental | 16mm | noir et blanc | 15:5 | Suède | 2015 voir plus
Persijn broersen, Margit Lukács: Establishing Eden | Vidéo | hdv | couleur | 10:0 | Pays-Bas | 2016 voir plus
Julie murray: Untitled (Earth) | 0 | 0 | couleur | 10:0 | USA | 2015 voir plus
Christoph girardet, Matthias MÜLLER: Personne | Film expérimental | hdv | couleur et n&b | 15:4 | Allemagne | 2016 voir plus
Benjamin ramÍrez pÉrez: Body Snatcher | Film expérimental | 16mm | couleur | 17:18 | Allemagne | 2016 voir plus
m+m
Dienstag + Donnerstag
Installation vidéo | 16mm | couleur | 6:39 | Allemagne | 2015


M+M steht für die künstlerische Zusammenarbeit von Marc Weis, geb. 1965, und Martin De Mattia, geb. 1963. Das deutsch-luxembourgische Künstlerduo überschreitet in seinen Arbeiten die klassischen Gattungsgrenzen zwischen Film und Rauminstallation. Sie erhielten u.a. den Villa Massimo Preis Rom, das Stipendium Villa Aurora L.A oder den ADC Award. Einzelausstellungen fanden in den letzten Jahren statt u.a. im Museum für Fotografie, Berlin, im MAMBo - Museo d’Arte Moderna, Bologna, im Casino - Forum d’art Contemporain, Luxembourg, in der Galerie im Taxispalais, Innsbruck oder im Musée d’Art Contemporain, Montreal/Canada. Zudem waren sie in zahlreichen Gruppenausstellungen vertreten: u.a. Museum Folkwang, Essen, Biennale Venedig, Emscherkunst, Kunstmuseum Bonn, Neue Galerie, Graz, Haus der Kunst, München, Hamburger Kunsthalle.

John skoog
Shadowland
Doc. expérimental | 16mm | noir et blanc | 15:5 | Suède | 2015

A film that shows locations in California that has "played" other parts of the world in early Hollywood films. By revisiting these old locations, documenting them as they look today and by letting sounds from the old films inhabit them, the films constructs the Californian landscape as a place out of time and place.


John Skoog (born 1985 in Malmö, lives and works in Copenhagen) studied at the Städelschule in Frankfurt. He was awarded the Baloise Art Prize in 2014 and the Ars-Viva prize in 2013.  Recent exibitions and screenings include Mad Horizon, Index Contemporary Art Foundation, Stockholm, SE (2016) Värn, Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK, 2015), Slow Return, Museum für Moderne Kunst Frankfurt am Main (2015), Shadowland, Pilar Corrias, London (2015),Berlin International Film Festival (2015) and Federsee, Johan Berggren Gallery, Malmö (2013). Skoog is currently the professor of the film class at the Art Academy in Mainz.

Persijn broersen, Margit Lukács
Establishing Eden
Vidéo | hdv | couleur | 10:0 | Pays-Bas | 2016

In Establishing Eden, Broersen & Lukács focus on the establishing shot: the moment a landscape is identified and becomes one of the main protagonists in a film. In blockbusters like `Avatar` (James Cameron, 2009) and the film series `Lord of the Rings` (Peter Jackson, 2001-2014), these shots have been used to capture and confiscate the nature of New Zealand, propagating itself as a new Eden, evergreen and unspoilt. Here, fiction takes over from reality: mountains and forests exist under the name of their cinematic alter ego’s.   Broersen & Lukács travelled through the wilderness of New Zealand to capture these landscapes, and with that, they appropriate the nature of New Zealand once again. Creating an architecture of fragments connected by the camera movement of a perpetual establishing shot, they show this Eden as a series of many possible realities, an illusion that comes together just as easily as it falls apart.


Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the depiction of nature in our increasingly virtual society.
 With intricate layers of (filmed) footage, digital animation and images appropriated from the media they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary culture. Broersen and Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Biennale of Sydney (AUS), Stedelijk Museum Amsterdam (NL), Muhka (Bel), Centre Pompidou Paris (FR), Shanghai World Expo (CN), Casa Enscendida, Madrid (ESP). Their films have been shown at several festivals including LAForum in Los Angeles, Kassel Dokumentar and filmfestival (Ger), Paris Rencontres (FR, Ger & Esp), New York Film Festival (USA), IDFA, Amsterdam (NL) and International Film Festival Rotterdam (NL).

Julie murray
Untitled (Earth)
0 | 0 | couleur | 10:0 | USA | 2015

Untitled (earth)is a digital montage of found film material examined over a lightbox. Hazy figures in smudged pink and gold landscapes are pulled past the video lens unraveling the film image. A cinematic experience is reassembled in stop/start motion falling in and out of sync with the video frame rate. Ruined image detail in rhythmic incantation taps a remembrance of familiar forms in the brightly patterned tropes of cinema.


Born in Ireland and living in the US, Murray draws upon her background in art studies and practice to make moving image works in a range of experimental forms. Her films and videos have screened widely and her work is in a number of library and special collections. She is currently teaching at the University of Iowa.

Christoph girardet, Matthias MÜLLER
Personne
Film expérimental | hdv | couleur et n&b | 15:4 | Allemagne | 2016

A broken bottleneck lies on the ground. An analogue telephone with a blank dial plate. The hero of the film, Jean-Louis Trintignant, in younger years – in older years. A man huddled on an elevator floor. Skewered butterflies. He is all alone in the world. The external is sealed off. The internal barricaded. He shifts between times. His focus is always trained on the other. Is he wanted, condemned, persecuted? The man whom we observe from the rear, is only able to see his back in the mirror. His face cannot be recognised. All the actions and movements, all the seeking and striving, all the alterations and associations revolve around the view and excerpt from “La reproduction interdite”, painted by Belgian surrealist René Magritte in 1937. The mirror axis of the film, and yet, and simply for that reason, one becomes the other. The other becomes many. “personne – that is somebody and nobody and anyone. That is us in the course of time. Persistently, in vain. The self is the need for permanent self-assertion”.


Christoph Girardet & Matthias Müller are directors, known for Cut (2013), Contre-jour (2009) and Personne (2016).

Benjamin ramÍrez pÉrez
Body Snatcher
Film expérimental | 16mm | couleur | 17:18 | Allemagne | 2016

Body Snatcher conflates new 16mm material and found footage from Barbara Loden‘s film Wanda (1970) into an abstract narrative. Loden‘s film shows a character that seemingly passively navigates the world, but at the same time fights for her own identity and challenges social norms through her refusal to function as expected: „Life is a mistery to her. She doesn’t know what she wants but she knows what she doesn’t want.“ Taking fragments of the film as a starting point, objects, props and surfaces from the film were recreated, visually isolated and filmed anew. In a kind of vacuum, an abstract and associative narration touching on emptiness, failure, and identity construction slowly unfolds. A sort of parasitic science fiction remake of Wanda emerges - a layer of meaning that lies behind the film‘s plot and surface is imagined and constructed, positioning disparate elements in relation to each other and forging connections between them.


Benjamin Ramírez Pérez lives and works in Amsterdam. He studied at the Academy of Media Arts Cologne from 2009 - 2015. He was awarded the German Film Critics` Prize for Best Experimental Short in 2013. In 2015, he received the Chargesheimer Scholarship for Media Arts of the City of Cologne. Currently, he is a participant at De Ateliers in Amsterdam (2016 – 2018).


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Les images en diptyque de M+M réinterprètent des scènes de film, avec d’une part une scène rejouée à l’identique, et d’autre part la même scène réécrite ou altérée. John Skoog filme en Californie des lieux de tournage de films mythiques hollywoodiens, ayant servi à représenter les lieux les plus divers à travers le monde. Persijn Broersen et Margit Lukács reconstituent les paysages de Nouvelle-Zélande qui ont servi de décors à des films comme Avatar ou Le seigneur des anneaux. La nature a été confisquée pour représenter un nouvel Eden de fiction. Julie Murray confronte l’image vidéo numérique à la pellicule d’un film où des silhouettes floues et des paysages tachetés apparaissent. Christoph Girardet et Matthias Müller, autour de la figure cinématographique de Jean-Louis Trintignant, interrogent la personne, personne, le soi, le quelqu’un. Il s’agit de nous-mêmes, dans le passage du temps. Benjamin Ramírez Pérez développe une narration abstraite à partir du film « Wanda » de Barbara Loden. Il en abstrait des éléments originaux, surfaces, objets et mobilier, pour les isoler dans une narration parallèle, et interroger la construction d’une identité.


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